The European Workshop on Applied Cultural Economics (EWACE) returns to northern Italy to celebrate its 10th anniversary. Originally organised by Roberto Zanola (University of Eastern Piedmont) and Antonello Eugenio Scorcu (University of Bologna), this time taking place in Torino University 8 – 10 September 2022. Over 50 presentations, increasingly with multiple authors and with a balanced gender representation, evidence an active, creative, and engaged community of specialized economists worldwide.Continue reading “10th EWACE 2022: CELEBRATING GROWTH AND DIVERSITY”
From the ashes of the creative city paradigm, there is a growing awareness of the urban creative economy as a complex adaptive system of intertwined actors and institutions. Yet, especially in the European context, little attention has been given to understanding informal and alternative art spaces and venues that contribute to the vibrancy of the urban cultural scene.Continue reading “UNDERSTANDING URBAN ALTERNATIVE CULTURAL PRODUCTION”
The ‘ecosystem’ notion is finding its way in the economic, management and policy literatures. In fact, in entrepreneurship, the entrepreneurial ecosystem is a well elaborated concept. By means of an analysis of the sub-ecosystem of the cultural and creative industries (CCIs) in Porto, we explain how cultural, social and material aspects, also in their interactions, have led to the development of the entrepreneurial ecosystem (EE) of this medium-sized city since it became a European Capital of Culture in 2001.Continue reading “ENTREPRENEURIAL ECOSYSTEM FRAMEWORKS FOR THE STUDY OF CULTURAL AND CREATIVE INDUSTRIES: THE CASE OF PORTO”
In the current health and economic crisis triggered by Covid-19, the future of museums is facing a major financial challenge, a challenge that has appeared when the echoes of the previous crisis are still ringing. Indeed, this crisis has reopened the debate over museum funding.Continue reading “MUSEUM FUNDING IN TIMES OF COVID-19 CRISIS”
By Quirijn L. van den Hoogen
What happens to art worlds when funding mechanisms change? The Dutch case is of particular interest as the national government cut around 25% of the national cultural budget in 2013. This was legitimized by arguing that the cultural sector was ‘over-reliant on public funding’, pointing to crowdfunding as an alternative to state funding. But, what happens when the government relies on ‘the wisdom of the crowd’ rather than decisions of experts from the cultural sector?
By Jaime Ruiz-Gutiérrez
The creation and production of knowledge has been a monopole of industrialized economies. Their economic conditions are the guaranty to provide the better conditions to reach a privileged status. Generally, knowledge creation processes tend to have a predominant ethnocentric focus, in which so-called rich country or developed economy perspectives have prevailed. However, there are disciplinary subjects where the production of knowledge can be influenced not only by economic conditions but by cultural aspects as well. Arts management knowledge is a good example to support this proposition presented in the present post.